The last post?

How Royal Mail fiddles the figures

It is easy, working in an office where we deal with a lot of incoming and outgoing post, to forget the reasons behind the intermittent CWU industrial action and see it as a minor irritation -- after all, if something's really important, we can always bike it, can't we? So it's good to see this timely (and shocking) report in the current LRB on how Royal Mail is fiddling its figures in order to justify part-privatisation:

Mail is delivered to the offices in grey boxes. These are a standard size, big enough to carry a few hundred letters. The mail is sorted from these boxes, put into pigeonholes representing the separate walks, and from there carried over to the frames. This is what is called "internal sorting" and it is the job of the full-timers, who come into work early to do it. In the past, the volume of mail was estimated by weighing the boxes. These days it is done by averages. There is an estimate for the number of letters that each box contains, decided on by national agreement between the management and the union. That number is 208. This is how the volume of mail passing through each office is worked out: 208 letters per box times the number of boxes. However, within the last year Royal Mail has arbitrarily, and without consultation, reduced the estimate for the number of letters in each box. It was 208: now they say it is 150. This arbitrary reduction more than accounts for the 10 per cent reduction that the Royal Mail claims is happening nationwide.

Fewer letters being sent these days, due to email and mobile phone use, is a truism repeated by everyone from Royal Mail managers to the Business Secretary, Peter Mandelson. In fact, as the piece makes clear, the real crisis affecting Royal Mail is not one of technology, but of a conflict between public service and private profit. The LRB's correspondent illustrates this point with a telling exchange:

We had a meeting a while back at which all the proposed changes to the business were laid out . . . We were told that the emphasis these days should be on the corporate customer. It was what the corporations wanted that mattered.

. . . Someone piped up in the middle of it. "What about Granny Smith?" he said. He's an old-fashioned sort of postman, the kind who cares about these things.

"Granny Smith is not important," was the reply. "Granny Smith doesn't matter any more."

For an indicator of what might lie ahead, I recommend you track down a copy of Jonathan Franzen's essay collection How to Be Alone, and read his gloomy but revealing mid-1990s investigation of Chicago's decrepit postal service.

Daniel Trilling is the Editor of New Humanist magazine. He was formerly an Assistant Editor at the New Statesman.

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Women’s stories triumph at the Emmys

Winners were original stories told by diverse voices, that shone a light on society's injustices, or engaged with the current political landscape in the USA head on.

The 69th Emmy Awards was a great night for stories about women, starring women, and written by women. The biggest winners of the night, which celebrates excellence in television, were The Handmaid’s Tale (with five awards) and Big Little Lies (also with five awards). Both are female-fronted series tackling wider issues of patriarchal violence in a sexist political climate. Black Mirror: San Junipero and Veep also picked up multiple awards.

The Handmaid’s Tale won the biggest award of the night: Outstanding Drama Series. But it also picked up awards in every category it was nominated. That meant awards for drama writing and direction, while Elisabeth Moss won the Emmy for a lead actress in drama. Ann Dowd won the best supporting role award for the terrifying Aunt Lydia, while Alexis Bledel picked up the award for best guest performance, announced at the Creative Emmy Awards last week.

Big Little Lies won Outstanding Limited Series, with Alexander Skarsgård, Laura Dern and Nicole Kidman all picking up acting awards: Kidman delivered a powerful speech on the importance of representing stories of domestic abuse.

Lena Waithe became the first black woman to win the award for Outstanding Writing for a Comedy Series for her work on Master of None, thanking her “LGBTQIA family”. Black Mirror won Outstanding TV Movie and a writing award for its love story between two women, “San Junipero”.

It was a night of firsts more generally: Donald Glover became the first black winner of Outstanding Directing for a Comedy Series, and Riz Ahmed became the first man of Asian decent, and the first Muslim, to win an acting Emmy.

Firsts aside, Julia Louis-Dreyfus made Emmy history for the most awards won by a single performer for one role, picking up her sixth consecutive award for Outstanding Lead Actress in a Comedy Series for Veep. Reed Morano of The Handmaid's Tale became the first woman to win the award for Outstanding Directing for a Drama Series in 22 years, while Sterling K Brown from This Is Us became the first black man to win Outstanding Lead Actor In a Drama in 19 years.

All in all, the winners, be it The Handmaid’s Tale, Big Little Lies, Saturday Night Live, Veep, The Night Of, This is Us, Black Mirror: San Junipero, or Atlanta, were generally original stories that placed diverse voices at the centre, shone a light on societal injustices, or engaged with the current political landscape in the USA head on.

Oh, and if you’re wondering why Game of Thrones and Twin Peaks were snubbed: they weren’t eligible.

The full list of winners can be found here.

Anna Leszkiewicz is a pop culture writer at the New Statesman.